Falling stars and sinking ships: Framing and metaphor in cartoons about Brexit

Godioli, Alberto; Pedrazzini, Ana

doi:10.1177/0047244119859167

Cited by 9 publications

(6 citation statements)

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“…Second, genre influences the formation of metaphors. Political comics or cartoons may tend to employ exaggerated or ironic images and words to represent public figures or institutions (Alousque, 2020;El Refaie, 2003;Godioli & Pedrazzini, 2019). Pictorial (or visual) metaphors in commercial advertisements may be used to represent products in forms of brand names or logos (Forceville, 1994(Forceville, , 1996(Forceville, , 2008.…”

Section: Discussionmentioning

confidence: 99%

“…Forceville (2009) lists nine plausible modes that can represent multimodal metaphors including pictorial signs, written signs, spoken signs, gestures, sounds, music, smells, tastes, and touch. Forceville’s research on pictorial and multimodal metaphors has promoted numerous relevant studies that cover various text and genres such as advertising/billboards (Bolognesi & Lievers, 2020; Feng, 2019; Feng & O’Halloran, 2013; Forceville, 1994, 1996, 2017; Kaplan, 2004), cartoons/drawings (Alousque, 2020; Bounegru & Forceville, 2011; Bowen & Evans, 2019; El Refaie, 2003, 2009; Godioli & Pedrazzini, 2019), and films (Carroll, 1996; Fahlenbrach, 2015; Whittock, 1990), just to mention a few. This article deals with metaphors in the genre of PSAs which involves three types: verbal, visual and verbo-visual, with visual, and verbo-visual metaphors being its focus.…”

Section: Metaphor and Multimodal Metaphormentioning

confidence: 99%

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Coronavirus, Demons, and War: Visual and Multimodal Metaphor in Chinese Public Service Advertisements

Feng

Shi

2022

SAGE Open

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Metaphors in public service advertisements, or PSAs, have played an important role in promoting the knowledge of COVID-19 and China’s anti-epidemic activities. Based primarily on Feng and O’Halloran’s visual representation of multimodal metaphor, this article examines visual and multimodal metaphors created in the online PSAs that were produced in early 2020 to publicize China’s epidemic prevention and control activities. It is found that those metaphors fall into three general groups, namely “coronavirus” metaphor, “anti-epidemic worker” metaphor, and “medical instrument” metaphor. Nearly all of them were created to serve an overarching metaphor, namely ANTI-EPIDEMIC WORK IS WAR, of which coronaviruses were depicted as enemies, anti-epidemic workers as warriors, and medical instruments as weapons. Most of the metaphors were constructed through visual or multimodal anomaly realized through strategies such as participant substitution, verbal/visual superimposition, and verbo-visual integration/fusion in the representational structure, while their metaphorical meanings became supplemented or reinforced by the deployment of compositional and interactive resources such as spatial position, color contrast, gaze, and size. Finally, the causes and implications of the findings are discussed from three aspects: social background, genre, and audience.

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Section: Discussionmentioning

confidence: 99%

Section: Metaphor and Multimodal Metaphormentioning

confidence: 99%

Coronavirus, Demons, and War: Visual and Multimodal Metaphor in Chinese Public Service Advertisements

Feng

Shi

2022

SAGE Open

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“…É válido ressaltar também que a charge apresenta uma relevante função social, haja vista que o seu propósito não equivale apenas em ser uma representação humorística com potencial de distração por meio de seu aspecto imagético, como também expor críticas, alertar, denunciar, contestar e gerar reflexão e conscientização das pessoas em relação a diversos temas (Miani, 2016;Godioli & Pedrazzini, 2019). Miani (2012) faz uma importante observação ao dizer que apesar de a charge ser uma representação humorística de caráter temporário, ou seja, que com o passar do tempo os fatos aos quais ela se refere serão esquecidos pela nossa memória social ou individual, não significa que a memória histórica deste gênero humorístico não seja preservada.…”

Section: A Charge Enquanto Produto Comunicativo E Estratégia Discursivaunclassified

Humor como estratégia discursiva: uma análise das charges do jornal sindical Folha Bancária

Monteiro

Correia

Carrieri

2021

Rev. Eletr. de Ciênc. Adm.

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O objetivo do artigo é analisar como o humor enquanto estratégia discursiva em charges é capaz de revelar as práticas do Sindicato dos Bancários de São Paulo. O trabalho se torna relevante a partir da possibilidade de evidenciar práticas de resistência, transgressão ou contradição em organizações por meio de charges veiculadas em seus canais oficiais de comunicação. Adotamos a metodologia qualitativa e analisamos, com base na analítica de poder foucaultiana, cinco charges publicadas no jornal sindical Folha Bancária, além de nove reportagens e documentos públicos disponíveis no sítio do sindicato e da Fundação Projeto Travessia. Os resultados sugerem contradições nas práticas do sindicato, revelando incoerências em parcerias com bancos privados, estratégias de sindicalização que enfraquecem as lutas coletivas e a ausência de resultados expressivos em seus canais de denúncias contra o assédio moral.

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“…The authors claim that metaphors, clichés and slogans are essential tools in the media to "influence the perception of consumers in order to impose the views they are interested in" (p. 164), an idea that we already discussed above in relation to conceptual metaphor (cf. Godioli & Pedrazzini, 2019;Musolff, 2016;Soriano Salinas, 2012;Stone, 2012;Thibodeau et al, 2019;Valdivia, 2019). For this reason, my analysis will not only take into account political statements on the case studies in question, but will extend its focus to media debates as well.…”

Section: Aligning Research Questions Methods and Datamentioning

confidence: 99%

“…As such, conceptual metaphors have the power to frame a situation and can therefore provide more insight in recurrent thinking patterns on societal issues (cf. Godioli & Pedrazzini, 2019;Musolff, 2016;Soriano Salinas, 2012;Stone, 2012;Thibodeau, Matlock, & Flusberg, 2019;Valdivia, 2019). Figure 3.1 schematically represents the interplay between the populist narrative, affect and conceptual metaphor as I conceptualize it.…”

Section: Introductionmentioning

confidence: 99%

From Submission to Soumission: Populist Perspectives on Culture

Jansma

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Introduction: why populism and culture? 1During a parliamentary debate in December 2007, Dutch politician Geert Wilders, leader of the far-right Partij voor de Vrijheid (PVV), coined the term "linkse hobby's" 2 . These left-wing hobbies included for instance international development aid, public broadcasting companies, the EU, free integration courses for immigrants, and subsidies for arts and culture. According to Wilders, money spent on such activities would only benefit a small part of the population, elites rather than the hardworking common people. It is as a result of this kind of remarks that populism is often considered to have an antagonistic relationship with culture. On the other hand, culture's hostility towards populism seems equally true. In this latter perspective, culture is presented as a way to better understand the patterns and dangers of populism, consider for example the success of Orwell's dystopian novel 1984 after the election of Donald Trump as the president of the United States. It is thus widely assumed that the relation between populism and culture is simply one of mutual exclusion -populism dismisses culture as a waste of time and money, while culture perceives and represents populism as its disturbing Other. However, by affirming that populists simply oppose culture, populism's own active use of culture tends to be underestimated.To be clear on my use of the term populism, I refer to the definition proposed by Mudde and Rovira Kaltwasser (2017):Populism is a thin-centered ideology that considers society to be ultimately separated into two homogeneous and antagonistic camps, the 'pure people' and 'the corrupt elite', and which argues that politics should be an expression of the 'volonté générale' of the people (p. 6) Following this definition, populism has two main characteristics, namely a dichotomous view of society -divided between an imagined "us" and "them" -and the 1 Some passages in this introduction have appeared earlier in Jansma (2018). 2 Wilders further elaborated on his aversion to the so-called left-wing hobbies in a column published in 2009: "Kabinet, stop met al die linkse hobby's", originally published on stopdecrisis.nl on June 30 th , 2009, an initiative of de Telegraaf. For the full text, see: https://pvv.nl/index.php/component/content/article.html?id=3413:geert-wilders-kabinet-stop-metal-die-linkse-hobbys (accessed on 20-05-2021) WHY POPULISM AND CULTURE? 2 sovereignty of the people. In the remainder of this dissertation, I will further elaborate on, and critically engage with this conceptualization of populism. In doing so, I will argue that culture is part and parcel of populism. If we want to understand how populism works and how it can be so successful, it is therefore essential to study this cultural component. Three recent examples from France and the Netherlands will now illustrate the importance of culture in populist discourse.In 2017, the year in which I started my PhD, presidential elections took place in France. These elections were different than usual...

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Falling stars and sinking ships: Framing and metaphor in cartoons about Brexit

Cited by 9 publications

References 17 publications

Coronavirus, Demons, and War: Visual and Multimodal Metaphor in Chinese Public Service Advertisements

Coronavirus, Demons, and War: Visual and Multimodal Metaphor in Chinese Public Service Advertisements

Humor como estratégia discursiva: uma análise das charges do jornal sindical Folha Bancária

From Submission to Soumission: Populist Perspectives on Culture

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